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Poster: Cliff Hucker Date: Dec 22, 2010 7:12pm
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

Pretty hard to say Rich. I like the song, but less because of Pig's raps and more for the jamming.

Jerry plays some great slide during the Lovelight at the Bickershaw Festival on 5/7/72.

My very favorite performance of Lovelight just might be the tragically cut performance on 1/23/70, or at least the 6 minutes of it that we have...

http://www.archive.org/details/gd70-01-23.sbd.goodbear.88.sbeok.shnf

But I guess I'd have to say the very best Lovelight was performed at the Fillmore East on 2/11/70 with Duane, Gregg, Berry and Peter Green sitting in...

http://www.archive.org/details/gd1970-02-11.partial.sbd.greenberg-evans.28402.sbeok.flac16

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Poster: portmcgroin Date: Dec 22, 2010 8:45pm
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

the 2/11/70 is at the taper section this week on dead.net I was checking it out and found this review later on here.
Reviewer: hgregs - - September 13, 2008
Subject: to paraphrase phil....
Was reading “Searching for the Sound” and had to look up this show after Phil talked about it in almost 3 pages of his book… here are some notes I took while I was listening:
• Jerry says to Phil of the ABB on their way to this show: “make sure you check these guys out… they’re kinda like us… They jam hard”
• Phil was startled when he heard Duane’s slide during Dark Star… Jerry hadn’t told him anyone would sit in
• Gregg “slides onto the organ bench” during Spanish Jam
• “Peter Green from the Mac plugs in just as I’m pulling the music into the dominant minor … he and Duane seem more comfortable in this space.”
• Butch joins on drums
• Mickey attacks his gigantic gong
• Mick Fleetwood and Danny Kirwan “find room to join the festivities”
• “it’s a surprisingly coherent free-for-all, with five guitarists , four drummers, organ, and – Pigpen roaring over it all”
• “Gregg takes a verse … Sounding like a fifty-year-old black man even then.”
• Pig and Gregg trade vocals
• Berry Oakley takes over on bass about halfway through Lovelight as Phil just wants to listen
• There’s a smokestack theme running throughout
• “my mind starts to stretch out of shape… Everyone on stage is flat-out wailing”

After the show, “I walk outside – it’s daylight, and snow is falling gently on the streets of New York… I grab Bob and Jerry in a group embrace: This is what it’s all about.”

Pilfering mdeloia below for the very cool picture/cd cover
http://www.geocities.com/deadpieshop3/covers/gd700211_back.jpg

i just listened to other version of this show (with like 56 reviews), which was great, but the quality of this one seems just as good. there are patches for the some of the missing segments (if not simply a more complete version).



This post was modified by portmcgroin on 2010-12-23 04:45:24

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Poster: Cliff Hucker Date: Dec 22, 2010 9:33pm
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

"During our set, we're tiptoeing through a quiet part of "Dark Star" when Duane Allman comes onstage and plugs in. I'm fixated on the fingers of my left hand, so I dont see him at first. Jerry plays a minimal version of the melody in place of a sung verse, and the first notes of Duane's slide guitar creep out of his speakers. I look over, startled: Jerry, that prankster, hadn't told me that he'd invited anybody to sit in. Duane a lanky towhead with a walrus mustache, is a little tentative at first, but soon gains confidence and begins adding thoughts to the flow. The music grows - and falls back into a very sparce, quiet space. Jerry takes the music into the minor tonic, and the thread becomes more and more tenuous as the dynamic remains quiet. Peter Green from the Mac plugs in just as I'm pulling the music into the dominant minor, both he and Duane seem to feel more comfortable in this space. Peter even starts to take the music into a "Smokestack Lightnin'" groove. Jerry, as deferential as ever to honored guests, steps back into a rhythm role and lets the newcomers wail. Duane steps up with some tonally ambiguous slide, while Peter and Bobby crunch away at the rhythm, aided by Jerry. The drummers and I pump up the groove a little higher, and Jerry and Duane trade a few rippin' licks. The dynamic is still fairly quiet.

Bob, meanwhile, has been hinting at a different direction - simply by playing one extra chord, he takes us into a full-blown "Spanish Jam," a four-bar pattern we'd borrowed from Miles Davis/Gil Evans album Sketches of Spain, while Jerry and Duane continue to converse. Gregg Allman slides onto the organ bench and lays down some sustained notes, and then some rapid figurations. The dynamic builds, then quiets; Duane and Gregg trade some figures. Butch Trucks joins on drums, as Mickey attacks his giant gong, unleashing waves of colored noise. Duane leaps in with a slashing, brassy figure that evokes the blues. Gregg answers, and the dynamic grows louder. Bob is thrashing away for all he's worth. By this time we have a hybrid meta-band onstage, lacking only one element - Pigpen.

Peter plays a huge climactic passage, and underneath the ending of his phrase, Bob and I slyly insert the opening riff of "Lovelight." Mick Fleetwood and Danny Kirwan, the other Mac guitarist, find room to join in the festivities. We sail into the vocal at a steaming tempo. From here on out it's a coherent free-for-all, with five guitarists, four drummers, organ, and - Pigpen roaring over it all. We go through the two verses of the song itself at least three times. Gregg takes a verse, sounding like a fifty-year-old black man even then. The band breaks down, and it's Peter and the drums, with interjections from everyone. The chord pattern changes slightly; Pig and Gregg trade vocal licks, while the guitars lament behind them. Pig takes it out and back, calling for the band to "wait a minute!" and telling his story. His lover got "boxback nitties and great big noble thighs" and "wriggles like pigs fightin' in a sack."

Berry Oakley, from the brothers, takes over on bass about halfway through. I just want to listen to this for a while, I tell him, as he plugs into my amp. The "Smokestack Lightnin'" theme returns, and the band amalgamates it into the "Lovelight" pattern. My mind starts to stretch out of shape. Everyone on stage is flat-out wailing. Danny, Duane, and Gregg take it into the closing fanfare, but Pig isn't quite done yet, exhorting everyone to "take yo' hands outa yo' pockets." The music builds to a crashing finish, and Bobby jumps to the mike and rounds it off: "From all of us to all of you, thanks and good night."

The audience slowly files out as the musicians gather behind the amp line, congratulating one another and reveling in the glory of it all. Someone opens the loading dock door behind the stage. I walk outside - it's daylight, and snow is falling gently on the streets of New York. The other musicians straggle out. We stand there, our breath steaming, and look east down the crosstown side street. A distended orange sun is rising between the buildings, casting lurid shadows in the fresh snow. I grab Bob and Jerry in a group embrace; This is what it's all about."
Phil Lesh - Searching for the Sound

http://www.archive.org/post/231102/2-11-70-fire-breathing-dragon-at-the-tapers-section

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Poster: jerrys beard Date: Dec 23, 2010 7:12am
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

During my teen years, Lovelight was a hit for me. The testosterone fueled "take yo hands out yo pockets!" was right where I was at 17, but not where I am now. That tempers what has become my favorite version...this one. And it has become so because of the historicity and the musical complexity.

The ability of FIVE guitarist to not just merely exist on stage together, but all add to the complex musical interplay is astounding. Knowing when to enter, sit back, add a single chord, echo Miles, etc. simply shows the amazing genius of all involved. Phil describes this so well. Jer, Duane and Peter - three great guitarists w/Bob and Danny adding layer upon layer.

Gregg on organ, Barry on bass and drummers galore. It seems to have a mythic quality to it that transcends the specific song. So...a song I typical skip (yes, I said it), has become a classic.

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Poster: johnnyonthespot Date: Dec 23, 2010 10:15am
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

IF we're talking about Pig songs from a jam point of few I'llpick Good Lovins everythime. Man Jerry went off on those

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Poster: RBNW....new and improved! Date: Dec 22, 2010 7:31pm
Forum: GratefulDead Subject: Re: Nominations for best Lovelight

"but less because of Pig's raps and more for the jamming"....ya well thats a given